Sublime Frequencies engineer Mark Gergis plunders his expansive archive, splicing together field recordings, radio snippets and electro-acoustic experiments made by himself and friends between 1995 and 2020.
Having been a founder member of Wisconsin's Mono Pause/Naung Phak and worked on Sublime Frequencies releases since the early '00s - including faves like "Choubi Choubi! Folk And Pop Songs From Iraq" and Omar Souleyman's "Highway to Hassake" - it would be fair to say that Gergis's sound library is vast and varied. He attempts to illustrate this on this sprawling set of bizarre and brilliant sketches and experiments, cutting instrumental jams on a litany of instruments (from the electric saz to the moroccan fiddle) into crackling environmental recordings and beatbox freakouts alongside creepy Carpenter-esque synth improvisations.
The album plays like an intentionally rough, chaotic mixtape as it offers a kind of retrospective of Gergis's decades-long interest in the wide world of experimental music. It hardly stays anywhere for long, hopping from mutant foley dub ('Debis') to kalimba drone ('No Terracotta Relief') to distant electronix ('Ludent') and mind-expanding stringwork ('Us Against Me') without missing a beat. Truly an essential expression of obsession with the character and texture of sound, absolutely without border. For this kind of material - Gergis really is the best out there.
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Sublime Frequencies engineer Mark Gergis plunders his expansive archive, splicing together field recordings, radio snippets and electro-acoustic experiments made by himself and friends between 1995 and 2020.
Having been a founder member of Wisconsin's Mono Pause/Naung Phak and worked on Sublime Frequencies releases since the early '00s - including faves like "Choubi Choubi! Folk And Pop Songs From Iraq" and Omar Souleyman's "Highway to Hassake" - it would be fair to say that Gergis's sound library is vast and varied. He attempts to illustrate this on this sprawling set of bizarre and brilliant sketches and experiments, cutting instrumental jams on a litany of instruments (from the electric saz to the moroccan fiddle) into crackling environmental recordings and beatbox freakouts alongside creepy Carpenter-esque synth improvisations.
The album plays like an intentionally rough, chaotic mixtape as it offers a kind of retrospective of Gergis's decades-long interest in the wide world of experimental music. It hardly stays anywhere for long, hopping from mutant foley dub ('Debis') to kalimba drone ('No Terracotta Relief') to distant electronix ('Ludent') and mind-expanding stringwork ('Us Against Me') without missing a beat. Truly an essential expression of obsession with the character and texture of sound, absolutely without border. For this kind of material - Gergis really is the best out there.
Sublime Frequencies engineer Mark Gergis plunders his expansive archive, splicing together field recordings, radio snippets and electro-acoustic experiments made by himself and friends between 1995 and 2020.
Having been a founder member of Wisconsin's Mono Pause/Naung Phak and worked on Sublime Frequencies releases since the early '00s - including faves like "Choubi Choubi! Folk And Pop Songs From Iraq" and Omar Souleyman's "Highway to Hassake" - it would be fair to say that Gergis's sound library is vast and varied. He attempts to illustrate this on this sprawling set of bizarre and brilliant sketches and experiments, cutting instrumental jams on a litany of instruments (from the electric saz to the moroccan fiddle) into crackling environmental recordings and beatbox freakouts alongside creepy Carpenter-esque synth improvisations.
The album plays like an intentionally rough, chaotic mixtape as it offers a kind of retrospective of Gergis's decades-long interest in the wide world of experimental music. It hardly stays anywhere for long, hopping from mutant foley dub ('Debis') to kalimba drone ('No Terracotta Relief') to distant electronix ('Ludent') and mind-expanding stringwork ('Us Against Me') without missing a beat. Truly an essential expression of obsession with the character and texture of sound, absolutely without border. For this kind of material - Gergis really is the best out there.
Sublime Frequencies engineer Mark Gergis plunders his expansive archive, splicing together field recordings, radio snippets and electro-acoustic experiments made by himself and friends between 1995 and 2020.
Having been a founder member of Wisconsin's Mono Pause/Naung Phak and worked on Sublime Frequencies releases since the early '00s - including faves like "Choubi Choubi! Folk And Pop Songs From Iraq" and Omar Souleyman's "Highway to Hassake" - it would be fair to say that Gergis's sound library is vast and varied. He attempts to illustrate this on this sprawling set of bizarre and brilliant sketches and experiments, cutting instrumental jams on a litany of instruments (from the electric saz to the moroccan fiddle) into crackling environmental recordings and beatbox freakouts alongside creepy Carpenter-esque synth improvisations.
The album plays like an intentionally rough, chaotic mixtape as it offers a kind of retrospective of Gergis's decades-long interest in the wide world of experimental music. It hardly stays anywhere for long, hopping from mutant foley dub ('Debis') to kalimba drone ('No Terracotta Relief') to distant electronix ('Ludent') and mind-expanding stringwork ('Us Against Me') without missing a beat. Truly an essential expression of obsession with the character and texture of sound, absolutely without border. For this kind of material - Gergis really is the best out there.